Alphonse Mucha (1860-1939)
Times Of The Day. Heures Du Jour : eveil du matin; eclat du jour; reverie du soir; and repos de la nuit. A complete set of the Times Of The Day series published circa 1972, measuring 16.25" x 45.5". Very good, strengthened at the corners with adhesive tape. unframed. £120

Edgar Degas

Edgar Degas [1837-1917.] The Rehearsal of the Ballet Onstage, probably 1874. There are three very similar vrsions of this painting -the largest, in grisaille, in th Musee D'Orsay, Paris, was shown in the first Imprssionist exhibition of 1874, the other two are currently the Metropolitan Museum of Modern Art.

Ayn Rand

The Fountainhead 50th Anniversary poster.

Sir William Russell Flint R.A., R.E., R.O.I., R.S.W. (1880-1969)

Cecilia. APB Process Print Limited/Offset litho reproduction in colour, from a limited edition of 500, with the blindstamp of Michael Stewart Fine Art society Nov. 1991. 9" x 9" . The artists favourite model wearing a pink dress. (Coming soon.)

Cecilia Reclining. Limited Edition 750, by Sir William Russell Flint Gallery 2000. 14" x 11". £450

Memorising Act II. Limited edition reproduction printed in colours, from a limited edition of 850, with the blindstamp of Michael Stewart Fine Art 1979. 14.75" x 22.25". £950

Model for Elegance. APB process prints limited/Offset litho reproduction in colour, from a limited edition of 850, with the blindstamp of Michael Stewart Fine Art April 1984.13.5" x 19.5". From an original titled Olearia. £750. FINE

Portrait of Cecelia. Adam Collection 1971. Reproduction in colour, from a limited edition of 850 + 6, published by the Adam Collection 1971. 23.75" x 18." The rarest of all the unsigned prints. £950.

Diaphenia and Hazel. Reproduction in colour, from a limited edition of 5000 published in the USA , unframed in fine condition. £300.

[2]Sonnet XXIV. Reproduction in colour, from a limited edition of 750, published by Adam collection 1977. 14.5" x 20". £850 FINE

The Basket Of Apples. Reproduction in colour, from a limited edition of 650 published by the Alexander Gallery. The first unsigned print not to bear the blind stamp of the Fine Art Trade Guild. Painted on the terrace of the Abbey of Charlemagne at Brantome in the Perigord region of France.1975. 28" x 20" £850

Under the Terrace, Brantome. Reproduction in colour, from a limited edition of 653, with the blindstamp of Sir William Russell Flint Ltd. 15" x 20.5." 27. 25 x 32 inches. including double mount and frame. NEW £750

Mutinous Maids. Reproduction in colour published by Adam collection 1974 from a limited edition of 756. 9.75" x 7.5." NEW £850 Click for Image

Aquiescent Angels. Reproduction in colour published by Adam collection 1974 from a limited edition of 756. 9.75" x 7.5." NEW £850 Click for Image

The Pink Frock. Published by Adam Collection 1970 Limited Edition of 856 19.25" x 14.75." This pendant was published in celebration of Flint's 90th. a birthday. NEW £850

The Mauve Frock. Published by Adam Collection 1970 Limited Edition of 856 19.25" x 14.75." This pendant was published in celebration of Flint's 90th. a birthday. NEW £850

Carlotta on the Loire. Jaffe/Collotype reproduction in colour, from a limited edition of 850, with the blindstamp of Michael Stewart Fine Art made 1991. 19" x 27." £500 NEW FINE.

Gossipers at Le Castellet APB Process Print Limited/Offset litho reproduction in colour, from a limited edition of 850, with the blindstamp of Michael Stewart Fine Art September 1988. 19.5 x 26.5. Depicting the fortified Hill Village resting between Marseilles and Toulon. £500

La Belle Poseuse Nerac. Published from a limited edition of 850 with the blindstamp of Michael Stewart Fine Art made in 1983. 20" x 27" £350

Basket of Peaches. Published 1970 Limited Edition of 850. This was the first limited edition of print to be published after the artists death, it was the unsigned print issue with Gitanas at la Galera. The original appears in the Frost and Reed Jubilee catalogue under its proper title Cordelia Romira and Selinas -near Granada-City of dreams. It is a studio work featuring Ray Fuller and Cecilia Green with the background prepared from his many sketches of earlier years. 15" x 22". £450

Roxanne by the Ardeche, reproduction in colour published by the Medici society 1973, from a limited edition of 657. 14.75" x 21.75". The River Ardeche is a tributary of the River Rhone, descending from the Central Massif of the Auvergne and joining the Rhone between Viviers and Pont-St-Esprit. In the winter, when the snows have melted, it is a roaring torrent and above the little town of St-Martin it has carved its way through limestone hills in the gorge of canyon-like proportions. In the summer the stream dries off to a trickle, exposing the great banks of shingle which prove popular places for picnics. High on the cliffs to the South lies the medieval village of Aiguezes which provided an interesting background for a number of works psinted in the shade of the trees on the Northern bank. This particular subject is very similar to one entitled 'First Arrivals'. NEW £500

Signed Limited Edition, Reproduction Prints

St. Malo, August 1939. Reproduction in colour, from a limited edition of 456, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by Frost and Reed 1947. 14.75" x 24". Exhibited at the Royal Academy in 1946. £1250 SOLD

Argument on the Ballet. Reproduction in colour, from a limited edition of 662 signed in pencil, published by W. J. Stacey, 1951, 15.625 x 22. An interior of Madame Rambert's practice room at the Mercury Theatre, Notting Hill, London. £1250 NEW

The Trio. Reproduction in colour, from a limited edition of 856, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Medici Society 1964. 17.25" x 23.25". From an original watercolour exhibited at the Royal Academy in 1963. Modelled by Cecilia Green and Ray Fuller. Slight damage to bottom right corner of mount and frame. £995

Castanets. Reproduction in colour, from a limited edition of 750, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Royal Academy 1959. 15.375" x 21." From an original watercolour measuring 19 x 26 exhibited at Royal Academy exhibition as the diploma work 1933 when Flint became a full Academician. £650 NEW

Festal preparations, Manosque. Reproduction in colour, from a limited edition of 756 signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Medici Society 1959. 16.375" x 22.5". From the original entitled Festive Preparations exhibited at the Royal Academy 1962 retrospective. £655

Holiday after Ramadan. Reproduction in colour, from a limited edition of 850, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by Frost and Reed 1965. 17.5" x 24". From an original watercolour exhibited at the Royal Academy retrospective 1962.Framed. £950

Sara. Medici Society 1965. Sara. Reproduction in colour, from a limited edition of 850, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Medici Society 1965. 15.625" x 25". Modelled by Cecilia Green. £675.

The Shower. Medici Society 1952. Reproduction in colour, from a limited edition of 756 signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Medici Society 1952. 16.75" x 22.5". Modelled by Cecilia Green. £795

St.Marks, Venice. Reproduction in colour, from a limited edition of 300 signed in pencil, published by W. J. Stacey, 1930. 13.875" x 19125." One of Flint's earliest signed limited editions and one of Flint's most beautiful watercolours. £650 NEW

Three Groups, Viviers. Reproduction in colour, from a limited edition of 756, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Medici Society 1962. 16.75" x 22.875". Modelled by Helen (the Nun) and Maggie Covenay. £400 NEW

Los Cientos. Reproduction in colour, from a limited edition of 600 signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by W. J. Stacey, 1948. 14.75 x 20. Juego de los Cientos, literally "hundred game," is the Spanish name for the card game Piquet. Exhibited at the Royal Academy in 1948. NEW £750 FINE.

The Silver Mirror. Reproduction in colour, from a limited edition of 675, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by Frost and Reed 1961. 10.75 x 18. Modelled by Tani Morena and Maggie Covenay. NEW £750 FINE

Golden Barrier Loch Earn Reproduction in colour, from a limited edition of 300 published by W.J. Stacey 1930 signed in pencil. 13" x 18". Loch Earn in Perthshire eastern Scotland, is located in rugged mountainous country west of Comrie and St Fillans. Today it is renowned as a multisports and angling resort. £750

Chateau Garden Languedoc. Reproduction in colour, from a limited edition of 310 signed in pencil, published by W. J. Stacey, 1954, 16.25 x 21.75. This was the first publication to feature his new model Cecilia Green. NEW £750

The Green Parrot. Reproduction in colour, from a limited edition of 500 signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by W. J. Stacey 1943. 12.125 x 19. Exhibited at the Royal Academy in 1944. NEW £750

Two models. Reproduction in colour, from a limited edition of 1000 signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by the Medici Society 1960. 14.75" x 11". Modelled by Ray Fuller, from an original watercolour exhibited at the Royal Academy retrospective 1962. £750

Reclining Nude II. Frost and Reed 1967. Reproduction in colour, from a limited edition of the any 850, signed in pencil, with the blindstamp of the Fine Art Trade Guild, published by Frost and Reed 1967. 12.375" x 23". Modelled by Cecilia Green, from an original watercolour exhibited at the Royal Academy retrospective in 1962. A fine copy of this rare print. NEW £950

Miscellaneous Prints

1. Heather. 5.5 x 9 inches, sheet size. 4.25 x 7 inches, image size. Signed. £75. SOLD A PRETTY figure in a play, all ringlets, frills and furbelows--the drawing is nothing more than a pastiche of Frenchified elegance.

2. Helen in pink. 5.25 x 9 inches, sheet size. 4.5 x 7.25 inches, image size. Signed. £75. "Stay as you are," cried I. She turned her head only her head and in due course this little drawing appeared. SOLD

3. Mary Spiers [I]. 4.5 x 10 inches, sheet size. 4 x 5 inches, image size. Signed. £50. To emerge from Stygian gloom into light and hope is not an exceptional experience but it may easily be an unforgettable one. In my sick nightmare there seemed to be macabre pictorial possibilities. Through a green-black morass, abhorrent, ceaselessly shifting, limitless, quivered a sharply defined vermilion river, the essence of pain. Horrible greens and a horrible red! My twisting thoughts strove to decide how the hateful vision could be painted, strove and strove. . . . There was a touch of Scotland in her intonation and more than a touch in her blue eyes and smiling level look. I'm going to be your nurse, Mr. Russell Flint." Limp though I was, there flashed a determination that I would draw her some day. From that moment my mind held a picture pleasanter than those submerged imaginings. So constant in kindness, so staunch and capable are such ministrants that the sum total of the easement they provide must be gigantic it should be wholeheartedly acknowledged. I would underline all that grateful men have written in honour of good nurses, and I would give my own special praise and special gratitude to Mary Kathleen Spiers.SOLD

4. Consuelito Carmona in white. 8.5 x 12 inches, sheet size. 6.5 x 9.5 inches, image size. Signed. £125. NOTHING need be added to the title of this drawing. Brown and black chalks on French paper watermarked 1733.." It would be difficult for me to find a more appropriate type than that instinctively graceful, vivid dancer, Consuelito Carmona. Dancing is veritably in her blood. The clatter of her castanets and the thud of her heels as she whirled round the studio have many times drowned the loudest music my gramophone could emit, while I, with pencil jigging to the rhythm, have tried to perpetuate something of her movements before the brief records ended. There is to me - a definite point where facial characteristics become too exotic to be artistically interesting. Extreme types are easy subjects. At film studios one can see many such, but though the lover of the merely picturesque is delighted, I confess that for drawing purposes anything more than a small touch of the bizarre repels me. That is where Consuelito Carmona is - as a small girl I knew always claimed to be -"just right."

5 Kay's '"Chapeau de Chasse." 10.25 x 7 inches, sheet size. 8.5 x 5 inches, image size. Signed. £100. SCENE I. A mountain road in the Cevennes, with an open G.B. car. Time: Noon, May 27, 1947. "Kay, ' said I, "I've sat on your hat!" "You horror, you've ruined it." Not at all, just made it more rakish." "Brute, you've broken the feather." " I'll buy you another.' (And I (lid.) SCENE 2. A narrow street in Quissac, with a petrol pump, several inhabitants, assorted French dogs and the same car. Time: Half an hour later. " Thank goodness, we've got petrol. Now for food tickets. You'll get them, Kay, won't you ? " SCENE 3. The Studio, Peel Cottage, three weeks later. "You've kept beautifully still, proud woman, and now your Chapeau de Chasse is recorded. Do you remember how it charmed that woman at the petrol pump at Quissac into leading you to the Prefecture where it charmed the Concierge into conducting you to the officer of gendarmerie whom it charmed into escorting you to the restaurant where the Mayor was eating his sacred luncheon ? It charmed him into leaving it, unlocking the town safe and handing over masses of food tickets that fetching little hat." "Had I nothing to do with it ? " "Hush! Everything. And it's you I wanted to draw, not the hat!"

6. Ernest Thesiger as Voltaire in old age [II]. 9 x 14.5 inches, sheet size. 6.5 x 8.5 inches, image size. Signed. £75. We have no more fastidious actor than Mr. Thesiger. (Cast your mind back, O gentle reader, and recall how convincingly he has played his every part.) When I saw him in Eric Linklater's Crisis in _Heaven as Voltaire drinking his morning chocolate in his pavilion in Elysium and peevishly rejecting the tactless suggestion that he, Apostle of Reason, should marryHelen of Troy, Queen of Beauty, without knowing it, he as good as asked to be drawn. He proved an admirable sitter. As a tiny example of his thoroughness in the theatre, it may be told that in the Voltaire scene the table equipment, basically war-time " utility," has been transformed by his own handiwork into something choicely "period." SOLD

7. Study for "The Scales." 7.5 x 12 inches, sheet size. 5.75 x 9.5 inches, image size. Signed. £95. At crossroads between Valladolid and Burgos stood giant scales, primitive and good to draw. When I spied them from my car some girls were playing at weighing each other. It was summer and they were lightly clad but, quite definitely, not so lightly as in my drawing ! They supplied a motif for an oil painting and made me, for the time, scale-minded. A grocer's shop in Burgos had a handsome contraption for weighing sacks of grain and other bulky things. It did not look very accurate but to my astonishment small packets of coffee beans were also weighed on it without protest from customers. There would have been a crop of protests in Italy. In Vicenza, on the main outer gallery of Palladio's Basilica, was a Bilancia di Uso Publico an attractive object much in demand, especially on market days. The balance was in charge of an elderly functionary, shoddy except for a splendid cap of gold and blue and what looked like a cut-down version of Marshal Ney's sabre in a second-hand scabbard. He and his machine acted as a court of appeal on points of weight: it seemed to be taken for granted that the private, hand-held
scales of vendors were not above suspicion surprising as that may appear in a country famed for the highest commercial rectitude! Silly little incidents stick in memory, so a minor episode in Italian domestic history may be reported. I had drawn the Bilancia and some market women, and surreptitiously was working upon a seedy individual in a tattered cloak reminiscent of Callot. At his feet he had fowls for sale, live, leg-bound, squawking and troublesome. One shackled red hen slithered towards a sturdy, rubicund woman laden with baskets and with great spirit and viciousness pecked both the lady's ankles. Even as the Theocritan hero, Aeschines smote Cynisca the fickle wench, one, two, so smote that hot-eyed hen! No pen could describe adequately the disturbance which followed. It grew and reverberated among Palladio's stately columns. I was annoyed (as well as amused) because my model discreetly withdrew, hens and all. I like drawing the weighing instruments strangely called steelyards. In the old town above San Remo a peripatetic vendor of feathers for pillows and mattresses carried a beauty. I drew her holding it at one arm's length while with her free hand she adjusted the brass counterweight it was a good pose. In most places on the Continent they were in use. Charles II used a steelyard at tennis. The inexhaustible Diary records "that it is only the King's curiosity which he usually hath of weighing himself before and after his play to see how much he loses in weight by playing and this day he lost 41 lb." (Harley Street has been consulted and agrees with me in muttering, Steep, Mr. Pepys, rather steep!)

8. A woman of Lemnos. 10.5 x 10 inches, sheet size. 8 x 7 inches, image size. Signed. £150.
In 1924 a chance browsing in Lempriere's Classical Dictionary moved me to the pro- duction of my most elaborate oil painting based on the unpleasant tale of the Lemnian women who murdered their husbands. The picture, to my astonishment and pleasure, marched me (so to speak) through the electoral procedure of the Royal Academy. It is now in the Art Gallery of Sydney, N.S.W. In my drawing, made long after the painting, it may be assumed that the lady, having done her wicked deed, is repentant and forlorn. She might wear more clothes.

9. Studies for "A Spanish Godiva" [II]. 10 x 6.5 inches, sheet size. 8 x 5 inches, image size. Mark to margin. Signed. £125. SPAIN sometimes supplies a crude motif These studies for a picture begun years ago, but, long untouched, lack, perhaps, the real Iberian harshness, but I would contradict any brother draughtsman who dares to say the attitudes are not expressive. SOLD

10. Gitana reclining. 12.25 x 9.25 inches, sheet size. 9.5 x 6 inches, image size. Signed. £150. SOLD THE uneven rocky ceiling lit by the reflection of the glare outside the cavern threw the noise down at us. Noise ! Castanets and stamping feet, clapping hands and hoarse cries, the persistent, insistent twang, twang, twang of the guitars. Rough wine within us and before our eyes swarthy beflounced wenches twisting, turning, entwining and separating, laughing in our faces and clacking castanets close to our ears. La Mosca. Do you like it? El Jaleo. Do you like it better? Why do you like it better? More wine, more dancing, more wine!
In turn we drank out of a blue basin with a sorely chipped edge. Like its owners it was decorative but none too clean. The wine was my gift. I had no intention of being mean but they themselves chose cheap stuff -mas barato- they sought my approval for their consideration of my purse. Cheap or not, it was strong and was drunk with ceremony. First the old gentleman, then myself before the old lady; after her came the straw-haired girl (so like a Glasgow servant), then the fierce, dark, typical gitana-and so on. The guitar-playing youths, aloof creatures, would not partake. Their swift fingers plucked and tinkled and strummed; their bodies rocked with vicious rhythm. Their movements mocked their sulky eyes. Unsmiling, rapt, enthralled by their own metallic music, they seemed beings apart, but tense, watchful suspicious. Do you wonder that artists paint gipsies? They have been, still are in spite of the counter attractions of boiler tubes and similar mechanical delights, one of the world's stock subjects. The real Spanish Gitana picture has yet to be painted. It is sheer defeatism to say that all such things have already been done. They have never been done well enough. Augustus John has painted a few superb heads of gitanas. He has caught the true type, but, oh for more of them! I enjoy Zuluaga's harsh productions but I always feel the old vandal had an eye on the cash, francs and dollars rather than pesetas. I name him vandal because when I went to call on him in Spain in 1921 I found he had pushed a common iron stove pipe through the lovely stone carvings of a romanesque window of his church studio - other desecrations also. No visit was paid. Years afterwards, when I met him in James Gunn's studio he called me a "communist" because I refused to share his admiration for Franco.

11. Three studies of Jennifer. 8.25 x 13 inches, sheet size. 7.5 x 10.5 inches, image size. Signed. £175. ONE could, with an air of erudition and with diagrams full of intersecting curves, explain how these three delineations of one damsel repeat the rhythm of the cipher and script at the top of this sheet from an ancient French ledger. They do, but surely there is no need to expound the fact. Instead, the exemplary patience of the model should be praised: she appeared never to have moved a muscle during three periods of solitude when her dessinateur was " answering the front door." SOLD

12. Castel Il Trebbio Tuscany. 12.5 x 8.5 inches, sheet size. 7 x 5 inches, image size. Signed. £70. CASTEL IL TREBBIO, TUSCANY SUNSHINE, lizards, nightingales, on a hilltop a towering fortress built by Lorenzo the Magnificent as a hunting lodge, congenial company and spacious, smiling Tuscany all around A rhapsody, you say, yet the baldest account would cause wonderment and probably disbelief It is the Italy of the story-books, the Italy I never believed existed. Yet I write this in a terraced garden linked by three great flights of steps to the most beautiful pergola I have ever seen. Between the cypresses quiver the pale slumbering Apennines, range upon range, valleys and villages, farms, convents, churches; and now, at noon, the bells, so slow, so varied, so gentle, creep into and enrich the warmth already vibrating with all the happy whispers of mid-May. And afar, twenty miles away and out of sight, Florence with her treasures and her noise.
Il Trebbio, Sunday, May 15th, 1949

13. Studies for Vanity [II]. 9.25 x 7.25 inches, sheet size. 7 x 4 inches, image size. Signed. £140. SOLD My work (I was Lieut. R.N.V.R.) happened to put me in touch with officers of I warships completing building and about to be commissioned. Finding that I was an artist they lured me into designing ships' crests. Engineer Lieutenant-Commander Aitkenhead, R.N., who was standing by the destroyer Vanity, one of the famous V class, had set his heart on a mermaid, and 'If this be Vanity who'd be wise?' for the ship's crest, motto and boat badges. By way of a start I produced a design in mock relief, more or less incorporating female figures for the ship's boats' starboard badges and took it to the shipyard carver, a dour old Scot. He looked suspiciously at it (and me) and said, "What about the port?" I promised the port design-neccessarily different assoon as possible, meanwhile would he please proceed. I was very busy, and when next the chance came to visit him he had not only carved the patterns but had the heavy gunmetal castings made for both port and starboard! My slim mermaiden had developed an incredible plumpness, and as for port well, the old fellow had turned her over, and her front view was in the stoutest style of old Dutch figureheads! Perfectly appropriate would be tales of other warship and airship crests. One, surely, may be permitted about a battleship, the Ramillies, with which I had an intimate acquaintance for many months. In her case timidity curbed my play and I appealed to the Admiralty for direction a foolish act, as it proved, because all too soon it inspired a
Fleet Order forbidding the adoption of unauthorised badges. The crest was to be a crouching lion holding a banneret erect in its right paw. A moment's thought showed that the port and starboard difficulty might arise again. It did. Again I drew the star-board design and again the old carver took matters into his own hands. This time the results were dire : all the massive port-side lions clutched their bannerets in their left paws. Even those unlearned in heraldry (I am of their number) can imagine that the implications of such a sinister emblem upon the port watch of the mighty ship did not pass unnoticed!

14. Henrietta and Gillian. 9.5 x 8.25 inches, sheet size. 7 x 5 inches, image size. Signed. £75. Any one can see, these are slight, swift notes. How many hundreds have I made and destroyed! SOLD

15. Harry Philp. 8.5 x 13.75 inches, sheet size. 6 x 8.5 inches, image size. Signed. £50. THE admirable Curator and Secretary of the Royal Society of Painters in Water- Colours, Secretary of the Royal Society of Painter-Etchers and Engravers and of several other artistic bodies, is an important figure in his R.W.S. offices. Like most hard-working men, he is very modest about his seemingly increasing labour for the Societies he serves so well. It took a lot of persuasion before he would let me try to draw him; before, indeed, he could spare time to come to my studio.

16. Charles H.L. Emanuel. 9.5 x 13 inches, sheet size. 6.5 x 9.5 inches, image size. Signed. £50.

DURING the month of August in the year of grace 1906 this quick-eyed, deft-handed craftsman, collector and man-of-law, jokingly accused my wife and me of dropping a tin kettle with felonious intent from our window on to his head. The scene of this alleged assault and unusual commencement of a long friendship was the courtyard of the Hotel de France at Montreuil-sur-Mer, destined to become Haig's Headquarters in the 1914-1918 War.

17. Cecil A. Hunt RWS. 4.75 x 6.25 inches, sheet size. 3.75 x 5.25 inches, image size. Signed. £45. HERE is a painter of mountains, an artist with the wit to evolve a novel technique and with the insight and skill to use it with absolute appropriateness or, rather, with that blend of serenity and enthusiasm which only an artist understands. Fellow member and fellow trustee of the R.W.S., Cecil Hunt has generously helped
me through a dozen years of Presidency of the famous " Old Society" wherein, since 18o, all but a few of England's best water-colour painters have flourished. In drawing him I should have borne in mind the Chinese master of many centuries ago who, to indicate the irmer nature and the qualities of his sitter, painted him " against a background of soaring peaks and deep ravines as kindred to his lofty spirit."

18. Monica and her "Recorder." 8.75 x 6 inches, sheet size. 6.5 x 4.25 inches, image size. Signed. £65. Monica's "recorder" is a handsome instrument fashioned by a cunning craftsman. Too seldom it fills my studio with its woody notes. It is the successor to a simple pipe upon which, already too many years ago, she played for my delight on southern mountains and southern shores.

19. The Ghosts of Maera, Clymene and Eriphyle. 11 x 10.5 inches, sheet size. 8.5 x 7.5 inches, image size. Signed. £75. "Lo, the women came up, for the high goddess Persephone sent them forth, all they that had been the wives and daughters of mighty men. And they gathered and flocked about the black blood, and I took counsel how I might question them each one." That is from Butcher and Lang's prose translation of the Odyssey. Who were the women? Antiope and Alcmene, Epicaste and " lovely Chloris, whorn Neleus wedded on a time for her beauty." What artist could represent such a subject adequately?

20. Studies for Flora. 10 x 9 inches, sheet size. 8 x 6.5 inches, image size. Signed. £125. I HAD a good figure model, a good open-air setting, good weather and ample time. The white porch of a Georgian mansion suggested a severe composition. The flowers around it suggested Flora" and " Flora" it was, rather sculpturesque, quite unoriginal, but very agreeable to paint. The real name of this model, who also appears in "Torso," was Sabrina.

21. Gitana models. 14 x 9.75 inches, sheet size. 11 x 6.5 inches, image size. Signed. £150. THE uneven rocky ceiling lit by the reflection of the glare outside the cavern threw the noise down at us. Noise ! Castanets and stamping feet, clapping hands and hoarse cries, the persistent, insistent twang, twang, twang of the guitars. Rough wine within us and before our eyes swarthy beflounced wenches twisting, turning, entwining and separating, laughing in our faces and clacking castanets close to our ears. La Mosca. Do you like it? El Jaleo. Do you like it better? Why do you like it better? More wine, more dancing, more wine!
In turn we drank out of a blue basin with a sorely chipped edge. Like its owners it was decorative but none too clean. The wine was my gift. I had no intention of being mean but they themselves chose cheap stuff -mas barato- they sought my approval for their consideration of my purse. Cheap or not, it was strong and was drunk with ceremony. First the old gentleman, then myself before the old lady; after her came the straw-haired girl (so like a Glasgow servant), then the fierce, dark, typical gitana-and so on. The guitar-playing youths, aloof creatures, would not partake. Their swift fingers plucked and tinkled and strummed; their bodies rocked with vicious rhythm. Their movements mocked their sulky eyes. Unsmiling, rapt, enthralled by their own metallic music, they seemed beings apart, but tense, watchful suspicious. Do you wonder that artists paint gipsies? They have been, still are in spite of the counter attractions of boiler tubes and similar mechanical delights, one of the world's stock subjects. The real Spanish Gitana picture has yet to be painted. It is sheer defeatism to say that all such things have already been done. They have never been done well enough. Augustus John has painted a few superb heads of gitanas. He has caught the true type, but, oh for more of them! I enjoy Zuluaga's harsh productions but I always feel the old vandal had an eye on the cash, francs and dollars rather than pesetas. I name him vandal because when I went to call on him in Spain in 1921 I found he had pushed a common iron stove pipe through the lovely stone carvings of a romanesque window of his church studio - other desecrations also. No visit was paid. Years afterwards, when I met him in James Gunn's studio he called me a "communist" because I refused to share his admiration for Franco.

22. Cracking Walnuts, Sarlat. 10 x 8.75 inches, sheet size. 7 x 5.25 inches, image size. Unsigned. £20. SOLD ASOLID slab which I believe was a lithographic stone, lay uncomfortably across the industrious young woman's lap. She cracked the nuts against it with her light hammer, let the kernels fall into the wooden box where her feet rested, and scattered the shells around with a fine indifference to tidiness. The walnuts, we discovered, were to be used in nougat made at Montelimar. During our inquiries a crone appeared from behind the rickety stair. She "spoke English." Some people, aware of this accomplishment, also appeared in order to observe how easily she could converse with us. Alas, she was unintelligible, but we, having tender hearts, pretended she wasn't, lest her age-old reputation should suffer.

23. Rueda de Jalon. 13 x 10.25 inches, sheet size. 10.25 x 6.25 inches, image size. Unsigned. £20. A NOTE, afterwards elaborated, of the Moorish castle of Rota, made from Rueda railway station during a long halt. All was ochre and black with violet shadows under the strong sun. The tiles on the low houses were buff and black, the cattle were black, and blackest of all were the cavern entrances black with a film of violet punctuating the quivering rhythm like the blobs on notes of music. Spain is a maddening country for the artist who is unable to " rough it." He must press on to the next hotel and be tantalised beyond words at seeing subject after subject he dare not stop to draw. The Jalon Valley is rich in such torment. Would that I could explore it thoroughly! What treasures await me in Paracuellos de la Ribera, in Lumpiaque and in La Almunia de Dona Godina? Or are they merely names?

25. Swimmers in a Grotto.9 x 6.75 inches, sheet size. 7 x 4.5 inches, image size. Unsigned. £20. THE chance discovery of a beautiful two-hundred-year-old grotto twenty miles from London made me grotto-minded for a while. I painted it within and without, and then enjoyed myself inventing pictorial grottoes of my own. I used to despise the word " grotto" as meaning something false and meretricious, but an inspection of all the grottoes of the Island of Capri made me change my mind. SOLD

26. Mountain landscape. 9 x 7 inches, sheet size. 7 x 4.5 inches, image size. Unsigned. £20. MANY of the happiest hours of my life have been spent in solitary contemplation on Scottish mountain slopes. There may be wind and rain, perhaps gloom and cold, but peace is there and beauty, to bless and be blest. SOLD

28. Cadiz. 13.5 x 10.5 inches, sheet size. 10.5 x 6.5 inches, image size. Unsigned. £20. SOLD This rapid sketch is my only souvenir of a distinctive city which, during my brief visit, 1 was sweltering in midsummer heat. It was too exhausting for further effort, especially as I did not like the look of the lesser police who obviously did not like the look of anybody, particularly, I felt, of me and of my shabby drawing outfit, so suspiciously inconsistent with my powerful car. Vengefully I tried to recall the Elizabethan song, The Winning of Cales" (Cadiz). Seeing nothing of " damask and sattens and velvets full fayre," but mainly rat-visaged bullies with revolvers hustling loiterers in the shade, I murmured (to soothe myself) the names of Lord Howard (Admiral) and the Earl of Essex (General) who in 1596
" most valiant and hardye, With horsemen and footmen marched up to the town; The Spaniards, which saw them, were greatly alarmed, Did fly for their safegard, and durst not come down."

29. Cave dwellings Calatayud. 14.5 x 10.25 inches, sheet size. 10.5 x 6.5 inches, image size. Unsigned. £20. "DEATH in a Spanish Cavern" sounds like a tragic romance. My matter-of-fact drawing scarcely hints at the austere silence and the pathos of the reality. A lone stranger on that arid hillside could not but be deeply moved by the sorrow, felt rather than witnessed (because, needless to say, he did not intrude), of the bereaved man sitting quietly at the cross-marked entrance while his friends passed within. SOLD

30. The Gendarmerie Quimperle. 10 x 13 inches, sheet size. 8 x 10 inches, image size. Signed. £125. Lightly foxed margins. THERE was a gleam of hope in that courteous gendarme's eye. I was sure of it. Instead of brusquely demanding why, without permission, I was making a careful di awing of his official premises, he regarded me from a distance, disappeared, then reappeared with a smarter cap and, I fancy, neater points to his moustachios. He did not approach until I showed signs of departure. In the end the blow was severe. He looked, and instead of a real portrait there was only a tiny figure with scarcely a hint of a likeness. I fear he thought my behaviour another instance of Albion's perfidy. If every picture does not tell a story, something can be told about every picture. "The Gendarmerie, Quimperle," was a grey subject, and in my paper-container was a sheet of carton d' Arches-gros grain, purchased at Avignon. On it was a partially scrubbed out attempt at a church interior, and the remaining tone and texture were suitable. Much washing-in was thereby saved, and the wife of the concierge, who passed me frequently, could not accuse me of splashing her well-polished floor, though she kept a sharp eye on me. Twice when sketching in France a shrill-voiced small boy by my side has yelled "Ma Tante, ma Tante, vous etes dessinee." The first aunt was a gipsy or saltzmbanque, and she, perceiving nothing in my drawing remotely resembling herself, cuffed the youth soundly to my entire satisfaction. The second aunt was a plump blonde personage in a brilliant green confection reclining on the Plage de Bon Secours at St. Malo. She, on inspecting my work at her nephew's invitation and finding the representation of herself to consist of a small emerald blob, coldly remarked of me as she turned away, "He hasn't much talent." Perhaps it is a sign of the perpetual hopefulness of the human heart (or perhaps perpetual vanity) that persons, finding themselves within the range of an artist's vision stiffen, keep still, assume they are a minor if not the major pictorial objective, and ultimately suffer disappointment. The noblest instance I remember was that of the blacksmith and his family at Comrie Perthshire, one summer evening many years ago. The smithy was close to the church which I was painting from across the river. For more than two solid hours the smith, good man, his wife and pair of grown-up daughters kept as still as if in the church, and did not get even a sermon for their pains, far less a " farnily group."
This is really a water-colour but the use of a pen outline makes it, to my way of thinking, technically a " drawing." Without the outline I would call it a "painting."

31. Patricia Garnet. 9.5 x 8.25 inches, sheet size. 7 x 4.75 inches, image size. Signed. £95. Light foxing. WHEN this danseuse performs people forget their woes, ambassadors chuckle, judges beam, dealers in antiquities lose their weary, wary look, parliamentarians stop their conspiratorial over-the-shoulder glancing and watch with sparkling eyes, while artists, simple souls, exclaim "What a girl to draw!' "

33. Helen. 8.5 x 14.5 inches, sheet size. 5.5 x 11 inches, image size. Signed. £125. I wrote a note about Helen, thought it neat, kind and correct, and complacently read it to her, confident of approval. " Oh, that's not nearly good enough," she said. " Any one would think I was a stranger and that I certainly am not!" So, crumpled and stung to awareness, I try to start again. Thus, a rapid drawing of a friend to whom my wife and I are indebted for years of kindness in sickness and in health, work and play. In England--and also in France, where much of her life has been spent she has been at times our merry fellow voyager. In her native Scotland we have seen her new moved to wonder, "Not with the mean and vulgar works of man, But with high objects, with enduring things such as we ourselves have loved so long. That has been a pleasure. So here (to borrow again from Wordsworth), through sad incompetence of human speech" I end my note about her without attempting further to put either our gratitude or our affection into words.

34. Juno no. II. 9 x 14 inches, sheet size. 6.5 x 13 inches, image size. Signed. £150. SOLD La Nymphe que tu vois icy, Celle qui bravementfe tient nue debout, Celte negre, en bon poinct, brunement bazanie Des rayons du Soleil. . . .
GERARD du Vivier might have written that about my Juno and wouldn't I have been pleased if he had! He actually wrote it, in 1578, about a hand-coloured engraving of negress representing Africa. The bold-bosomed Londoner who posed for my pair of drawings was, through sun-bathing in toto on the roof of her fiat, as sumptuous in colour as old Spanish leather.

35. Three Victorians. 13.75 x 11 inches, sheet size. 11 x 6.5 inches, image size. Signed. £150. SOME authors, it may be observed, take delight in effective incongruities. Here, with a touch of mischief I do the same thing. I confess to pleasure in drawing these crinolined stage Victorians, no doubt through being tired of beholding English women perversely apeing Moscow taxi-drivers' wives or slovenly, fear-stricken mid-European peasants. What is the matter with our pretty Londoners nowadays ? Has "austerity" broken their pride? Only the ballerinas have straight backs, the others, nearly all, slouch! War service, games and other activities have not disciplined them as Mistresses of Deportment did of old.

36. Brunette. 10 x 13.75 inches, sheet size. 8 x 6 inches, image size. Signed. £125. JOHN KEATS told Fanny Brawne that " snub-nosed brunettes with meeting eyebrows" were " trash" to him. In Sicily long, long ago Daphnis the shepherd sang about " the girl with meeting eyebrows" who spied him from her cave and cried " How fair, how fair he is! ' My scowling model said nothing like that to me. If she had, Daphnis' way would have been my way—" I answered her never the word of railing, but cast down my eyes, and plodded on."

37. Tired model. 8 x 10.75 inches, sheet size. 5.5 x 7.5 inches, image size. Signed. £125. Having posed steadily and well she deserved her little rest. It was unkind of me to ask her to keep still while I made another sketch of her.

38. Mildred Griffiths as Frances Fortitude. 9 x 12.25 inches, sheet size. 6.5 x 7 inches, image size. Signed. £140 ONE of the six sisters in Sir A. P. Herbert's merry play, Bless the Bride. 1870 was the period,with dresses tight-bodiced, bustled and beflounced. Here is Mildred Griffiths as Frances Fortitude in bridesmaid's attire, which that famous theatrical producer, Sir Charles Cochran, kindly lent me.

39. Bathers. 13.5 x 10 inches, sheet size. 11 x 7.25 inches, image size. Signed. £125 AFTER the 1914-1918 War I painted many " beach subjects" on the N.E. coast. I have always painted for fun,' and I am temperamentally averse to the lugubrious in art. It is difficult to explain one's motives, and, simple as these subjects look, the incentive behind them was not so simple. First thought of as suitable for painting in water-colour when seen from the air in war-time, those appealing sands, besprinkled with dark blobs which suddenly and most comically developed rosy centres as faces looked up (so simple were folk in those days), those curving bands of seaweed and crystalline white-bordered waters were subjects untouched and new at least I had never seen them painted as I saw them. When I am free, ran my thoughts, I'll spend a summer painting that sort of thing. The technical attraction was strong. The simplicity of the setting, subtle though it was, lent itself to swift painting, and the extreme difficulty of inserting the appropriate figures stimulated my professional pride and made an irresistible combination. Nothing in water-colour painting it seems paradoxical to say so - demanded greater austerity and control. Solemn advocates of aesthetic gloom sourly shook their heads over the results. Remarks were made about superficiality, and one critic actually wrote, " They are quite beautiful but give me mud, good honest mud." But collectors wanted them. Yet they were not in the slightest degree "pot-boilers. ' With no violation of my simple ethics, they brought to me what many another painter dourly earned by distasteful portrait work or by teaching. It is always interesting to see one's old work. It is one thing for a business man to complete a transaction and quite another for an artist The business man's production does not, years after, appear in the auction room, with his name indelibly attached, to be appraised afresh, but an artist too often suffers the mortification of seeing his own immature works at Christie's or in a Bond Street window. There is no escape; the long forgotten flights and experiments emerge to accuse and sometimes, I must admit, to comfort. Studies were seldom made for those subjects.

40. David Davies. 9 x 14 inches, sheet size. 6 x 8.5 inches, image size. Signed. £50 WHEN first I saw this strong Welshman he was acting the part of a musical Governor of a jail in Gay Rosalinda. Big, frock-coated and mockingly severe, he sang, he danced, he seemed to toss slighter men as slighter men toss table tennis balls without losing an atom of his dignity or suppressing for a moment the shrewd twinkle in his eye.

Dali, Salvador.

''The Discovery of America' signed by Dali and counter-proofed by the family Crest Seal and hand signature of Marquis Diego Colon, the 20th Great grandson of Christopher Columbus. Number 75 of 300 copies only from this edition. Click for Image

'Virgin of Guadalupe' Signed by Dali. Lithograph 1981, Paris. Number 64 of 300 copies on Japon from a total edition of 1200. Signed Certificate of authenticity by Art World Industries. Click for Image

Psaier, Pietro

Jimi Hendrix. Experience Experience. Pietro Psaier, Madrid. Serigraph print, after the 1967 Gered Mankowitz bromide-fibre print , in the original studio mount. Pietro Psaier [1939-] collaborated with Andy Warhol in his studio New York 'Factory ' producing a series of iconic images, Mercedes Benz, Norma Jean, Chanel no. 5, Sex Pistols: This Man is a Killer. Multi Marilyn, Campbell's Soup etc.. RARE.

Pietro Psaier : (b. 1936 - d. 2004.)

Pietro Psaier, the Italian born artist who died in the 2004 Sri Lankan Tsunami.

Psaier's psychiatrist Carlos Langelaan Alvarez, based in Madrid, treated Psaier between 1979 and 1992. He described Psaier as "an accomplished artist"suffering from "drug psychosis." In 1983 he recalls Psaier introducing him to Warhol while Warhol was exhibiting at the Fernando Vijande Gallery in Madrid. He further confirmed "There is no doubt that Pietro Psaier knew Andy Warhol and it is believed by many art historians and experts that Warhol was involved in many of his artworks." £1500.

Arthur Spencer. etching c. 1920. A signed engraving 5.5 x 8 inches.

Brockhurst, Gerald Leslie (1890-1978)

Youth. Lithograph signed and inscribed in pencil, glazed and framed. 12" x 17." 1945 one of 100 impressions only. A lovely nude portrait of Gerald Leslie Brockhurst's wife, Kathleen Woodward. Brockhurst had met the young "Dorette" at the Royal Academy Schools where she worked as a life model. She was to be his lifelong model and is the sitter in his most famous etching, "Adolescence" of 1932. Gerald Leslie Brockhurst (October 31, 1890 – May 4, 1978) was a celebrated English painter and etcher. During the 1930s and 1940s he gained fame as a skillful portraitist, painting society figures such as Marlene Dietrich and the Duchess of Windsor. Today he is best known for his small etched prints of beautiful, idealized women. He entered the Birmingham School of Art at the age of twelve and soon showed uncanny drawing skills. At the Royal Academy Schools he won the gold medal and scholarship in 1913.Though he tried his hand at etching in 1914 it was not until 1920 that he began his career as an etcher in earnest. Most of his etchings were versions of his striking oil paintings. £1000.

Christina Ricci Poster. The Fountainhead. Original poster printed on top-quality stock 22" x 34". Photo by Kimberly Butler for the ALA 'READ' campaign.